ilkka_nissila wrote: RoamingScott wrote:
It was inevitable. It also makes the Fujifilm Eterna cam look all the dumber.
Fuji says they will have open gate (3:4 aspect ratio) 4K on the Eterna cinema camera, that would make it the tallest sensor in a video camera available today. Arri 265 is 54.12 mm x 25.58 mm, Fuji's MF sensor is 44 mm x 33 mm.
I've heard from cinema-focused people that the Fuji GFX 100 II's video image is very beautiful, and this motivated Fuji to make Eterna using the same sensor (for cost reasons, but also because people like the image).
The RED Z-mount models don't have built-in ND filters, maybe the flange distance is too short? ND filters can be used with a RED Z to PL mount adapter when using PL mount cinema lenses. It's not yet known whether the Eterna will have built-in ND filters. I think this will be a significant practical factor. Having SDI connectors that lock securely is something that I regret not present in mirrorless cameras as USB and HDMI cables can be accidentally disconnected easily. Images of the Eterna show also Genlock, so it would be suitable for a multi-camera live production. Fuji is also a well-known maker of cinema and TV lenses.
I was one of the early users who used the original GFX100 primarily for video with stills for personal stuff. At the time I asked about open gate and Fuji said it wasn't technically possible. Fast forward and now there was enough to demand that they made it happen with the Eterna. As for rolling shutter and even dynamic range, that's important but not the most important as you're going to control almost every aspect of your contrast ratio on set in a serious production anyway. Sometimes I even use 360 shutter angle and the rolling helps with some types of shots. I've used it in handheld work with zero issues, because the major difference is the look you can get with certain lenses in conjunction with it. I believe what happened with s35 > ff will happen again with Fuji leading the way this time.
Now that vertical anamorphic is finally overtaking the horrid petzval trend, open gate becomes a huge advantage with lens pairing options.
Regarding the actual topic at hand, the ZR looks awesome to me. The biggest thing to me is the binaural 32-bit float and the volume of the camera. With a wide angle setup, you can just run the gain super hot then get really good audio. The price point and marketing structure tells me more and more of the general populace is getting into better quality cinema and the same thing that happened with photos is happening with video. Great for all future developments.
Sep 12, 2025 at 12:01 PM
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